‘DUST MEMORIES’ The spirit of Duchamp hovers over this show about the “vast material and metaphorical significance” of dust, in which Lawrence Weiner alludes to it, Robert Morris stirs it up (in three 1969 Earth Projects), and David Poissenot preserves it as jam. Cornelia Parker finds it on Freud’s couch, Michael Ross collects a thimbleful from his own studio, and Jonathan Monk hopes to create it by projecting a slide until it deteriorates. Dario Robleto asks us to take his word that his pieces contain not just human- and dinosaur-bone dust but pulverized minerals, amino acids, rust, and wisdom teeth. THROUGH AUGUST 2, Swiss Institute, 495 Broadway, 212-925-2035. (Levin)

‘NOW PLAYING’ An established Chelsea gallery turns over its space to three new players in the neighborhood, Daniel Reich Gallery, K48, and John Connelly Presents, announcing that “Each will operate their businesses within our walls and present exhibitions.” This they do, in a fresh, young triple-bill chock-full of young talent and the new communal sensibility. Among the works are Bjorn Copeland’s grinding gnome, David Altmejd’s bejeweled wolfmen, Mungo Thomson’s lead-crystal beer bottles, and K48‘s (Scott Hug’s zine, also behind the “Teenage Rebel Bedroom Show”) limited-edition CDs, CD-ROMs, and DVDs by about 100 artists. THROUGH AUGUST 1, D’Amelio Terras, 525 West 22nd Street, 212-352-9460. (Levin)


DANNY BURACZESKI’S JAZZDANCE Ten years after relocating to Minneapolis, this deeply musical choreographer brings his company of 10 to New York with three new works: an exploration of the cardiovascular system and the heart as the center of human emotion, in Beat; his own solo Get Happy, which honors and quotes Judy Garland in “Zing! Went the Strings of My Heart”; and Las Cuatro Estaciones (The Four Seasons), to a recorded score by Astor Piazzolla, inspired by Thoreau and Emerson. Completing the program is the 1993 Swing Concerto, a signature work that rides the clarinet on a journey through the roots and history of American jazz. MONDAY AT 7, TUESDAY AT 8, AND JULY 23 THROUGH 26, Joyce Theater, 175 Eighth Avenue, 212-242-0800. (Zimmer)

‘CATCHQUICKBEFOREITHITSYOUINTHEFACE’ Jenny Seastone Stern, a downtown force to be reckoned with, inaugurates the bimonthly “Emerging Artists Series,” featuring seven seven-minute works hustled along by musical interludes. On the first bill are Sakura Shimada, Felicia Ballos and Flora Wiegmann, Nathan Philips, Kellee Santiago with Dale Rutledge, and Seastone Stern in her own quartet. SATURDAY AT 7, Galapagos, 70 North 6th Street, Brooklyn, 718-782-5188. (Zimmer)


‘EYES WIDE OPEN: THE EVOLUTION OF WIDESCREEN CINEMA’ This eclectic widescreen-history series runs from Abel Gance’s Napoleon triptychs to the stretch of the 1950s giganto-formats, even including Andy Warhol’s double-screen venture into wideness, Chelsea Girls (1966). Japanese art films, Jean-Luc Godard, Elvis Presley, Lawrence of Arabia—it’s movieness at its most godlike, and summer moviegoing in an ideal world: Forget the spritz of living room pixels or a 20-foot-wide multiplex swatch. Here’s cinema as big as a clear night sky. OPENS FRIDAY, THROUGH SEPTEMBER 7, American Museum of the Moving Image, 36-01 35th Avenue, Queens, 718-784-0077. (Atkinson)

‘AN INJURY TO ONE’ Weaving together environmental disaster, Dashiell Hammett, Joe McCarthy, and the Wobblies, Travis Wilkinson’s deft multimedia essay tells the secret history of Butte, Montana, through the story of Frank Little, a WWI-era union organizer brutally murdered by capitalist bosses. It’s smartly paired with Chris Marker’s À Bientôt J’Espère, which profiles a 1967 French workers’ strike that presaged the ideals of May ’68. THURSDAY THROUGH TUESDAY, Anthology Film Archives, 32 Second Avenue, 212-505-5181. (Halter)


BLUR Like the Beatles and the Stones, Blur play definitive Britpop: rock with a certain caustic wit and sadness that the gloomy motherland instills. The departure of moody, once-blotto guitarist Graham Coxon leaves frontman Damon Albarn to follow the sun, literally, to Africa. There, with a little help from his friends—Norman Cook producing and bassist Alex James filling Coxon’s void—his voice found Bowie, and his curiosities ventured into Morocco and Gorillaz territory. As he can still pogo like the white boy he is to the groovier Think Tank, the new Blur sees a break in the London fog. With Moving Units. THURSDAY AT 8, Hammerstein Ballroom, 311 West 34th Street, 212-279-7740. (Kim)

CHRIS ISAAK+LISA MARIE PRESLEY Although Isaak seems to have run out of studio inspiration, this retro moper has maintained his alternative life as an extroverted, wry showman. The real attraction here is the other half of an inspired pairing: Presley has created a long-delayed debut album that’s far from perfect, but there’s enough darkness and fire amid its gloss to suggests she’s more than just the daughter and ex-wife of former kings. WEDNESDAY AT 8, Westbury Music Fair, 960 Brush Hollow Road, Westbury, Long Island, 516-334-0800; MONDAY AT 8, Beacon Theater, 2124 Broadway, 212-307-7171. (Walters)

‘JAZZ IN JULY: VENUTI, BIX, & LANG: CENTENARIES’ Dick Hyman has enjoyed at least two constants in his career during the past 20 years—scoring Woody Allen movies and programming the “Jazz in July” festivals. The movies are uneven; the festivals are amazingly even. Working with a top-rank group of mainstream pros, he explores ragtime, stride, theater songs, blues, swing, and jazz piano. The 19th annual go-round begins tonight with the music of Bix, Venuti, and Lang played, respectively, by Randy Sandke, Andy Stein, and both Howard Alden and Bucky Pizzarelli, as well as Vince Giordano and the Nighthawks, and others. Check out the photo gallery, too, for Hank O’Neal’s marvelous “Portraits.” TUESDAY AT 8, 92nd Street Y, 1395 Lexington Avenue, 212-996-1100. (Giddins)

MARS VOLTA+SAUL WILLIAMS+RYE COALITION Considering how run-of-the-mill Sparta’s CD came off after At the Drive In’s overdue breakup, it’s a huge surprise that ATDI’s Afro contingent would make such a ferocious Rush (via Voivod and Caifanes, sounds like) album with their new prog-metal band. Cool dub-reggae/Kraut-rock/’70s Miles use of blank space, too—plus words about exoskeletons! Agit-poet Williams and metal parodists Rye Coalition are tolerable. FRIDAY AT 8, Irving Plaza, 17 Irving Place, 212-777-6800. (Eddy)

µ-ZIQ+DATACH’I+JEGA Billious Paths, µ-ziq’s latest, makes oddball noise feel as warm and witty as any electronica-or-whatever this year; that Londoner Mike Paradinas still pays close attention to Jamaican dub and European industrial and Bronx human beatboxes after myriad albums sure doesn’t hurt. Local glitcher Datach’i pulls mobile tunes and beats out of a zillion drawn-out notes, itches, scratches, broken pianos, and typewriters. And Jega’s Manchester post-jungle twitching has long been new wave enough to get released here on Matador. WEDNESDAY AT 10, Knitting Factory, 74 Leonard Street, 212-219-3006. (Eddy)

‘THE VILLAGE VOICE THIRD ANNUAL SIREN MUSIC FESTIVAL’ OK, people, time to give it up for The Village Voice. Here we are, putting on an all-day festival of amazing rock bands (and one amazing hip-hop group) playing by the seaside, and what do we ask for in return? Not a cent. Just your love, and that you always associate our paper with the coolest music on the planet. So get your ass to the beach on Saturday. You know all your Friendster buddies are gonna be there. On the main stage: the Pattern, the Kills, !!!, Sahara Hotnights, Hot Hot Heat, The Datsuns, and Modest Mouse. On the Stillwell stage: The Witnesses, Oneida, The Dirtbombs, Northern State, Ted Leo/Pharmacists, Radio 4, and Idlewild. Also: DJs Boozy Jo, Bag Lady, Lil’ Miss Trish, LG, and M Rock. SATURDAY AT NOON, Coney Island, Brooklyn; Main Stage, 10th Street and Surf Avenue; Stillwell Stage, Stillwell Street and Surf Avenue; (Phillips)

CEDAR WALTON A great pianist. Walton has a touch all his own, percussive and foursquare, and a consistent level of inventiveness that is equally apparent in his book of originals, which are not played as often as they merit, and standards that he invariably makes his own. A masterful, surprising sideman for a decade beginning in the late ’50s, he often stole albums from underneath the stars; he has long since become a key standard-bearer for jazz piano. His partnership with bassist David Williams goes back about 15 years—the quartet also includes percussionists Joe Farnsworth and Ray Mantilla. WEDNESDAY THROUGH SUNDAY AT 9 AND 11, FRIDAY AND SATURDAY ALSO AT 12:30 A.M., Village Vanguard, 130 West 3rd Street, 212-777-7745. (Giddins)

THE WHITE STRIPES In an era when rock and charisma rarely occupy the same sentence, Jack White exudes a stage presence that just gets more and more startling, and his interplay with Meg creates something so much larger than the tiny sum of its stark parts. Unlike so many of their contemporaries, this pair possesses a chemistry that one must experience in person to fathom its greatness. Do it now. With Whirlwind Heat and Ima Robot. MONDAY AND TUESDAY AT 6:45, Roseland Ballroom, 239 West 52nd Street, 212-777-6800. (Walters)


‘BOYS OF SUMMER’ Teasing the obvious connection between (homo)eroticism and heat, this group show gathers a number of reliable standbys (Pierson, Mapplethorpe, Tress, Dugdale, Platt, Lynes) but spices things up with choice newcomers and provocative wild cards. Chief among the latter is SoCal softcore king Mel Roberts, whose insouciantly sexy ’60s and ’70s boy toys look weirdly contemporary, especially in these color-saturated new prints. And don’t miss Brian Finke’s high-impact shots of football brutes in and out of action, Paul Meleschnig’s intense portraits of Cuban boxers, Vince Cianni’s hushed studies of cruising spots, or Malerie Marder’s dramatically staged co-ed bathhouse frieze. THROUGH SEPTEMBER 6, ClampArt, 531 West 25th Street, 646-230-0020. (Aletti)

BARBARA ESS This is not the exhibition Ess deserves, certainly not from the publisher of her 2001 monograph, I Am Not This Body, but if you haven’t visited her dream world before, a badly flawed survey of that uncanny territory is better than none at all. Working with crude pinhole cameras, Ess produces monochrome images so sensuous and subjective, they seem to have sprung right from her brain. Ess sees through commonplace things—a rose-covered picket fence, a row of white cottages, a dog’s dainty paws, a kissing couple—to a world of menace, mystery, and wonder. THROUGH JULY 31, Aperture’s Burden Gallery, 20 East 23rd Street, 212-505-5555. (Aletti)


THE CAPITOL STEPS Well, with the mess our government’s making of the world, somebody should be doing a political cabaret. But are aides to the U.S. Congress the optimal group to carry on the theater’s tradition of musical satire? Still, they’ve been at it during the summer recess for over a decade now, and as in other matters political, it’s probably safer to make up your own mind than to let the Bush administration do it for you. The troupe’s latest show, Between Iraq and a Hard Place, hits New York this week. OPENS SATURDAY, John Houseman Theater, 450 West 42nd Street, 212-967-9077. (Feingold)

‘THE ORPHAN OF ZHAO’ Chen Shi-Zheng, whose innovative staging of The Peony Pavilion raised worldwide plaudits, as well as censorial hackles in Beijing, has moved on to another Chinese opera classic. This time, however, he’s transforming it into an American work, with the aid of Obie-winning playwright-performer David Greenspan and acclaimed young songwriter Stephen Merritt of the Magnetic Fields. For those who worry that 18th-century author Ji Juan-Xiang might not recognize his classic work, the Lincoln Center Festival also offers an alternative staging in Mandarin with subtitles. In English: OPENS FRIDAY, THROUGH JULY 27, LaGuardia Drama Theater, Lincoln Center. In Mandarin: OPENS JULY 23, THROUGH JULY 27, Clark Studio Theater, Lincoln Center, 212-721-6500. (Feingold)


ANDREW LEWIS CONN Those who think the lessons of Ulysses have been lost on the current crop of fictioneers should peruse Conn’s debut novel, P, which is Joycean in name (epigraph: “Books you were going to write with letters for titles”), in its first and last lines, in its one-day vivisection of a city. In the Bloom role is a pornographer named Benji; the equivalent of the “Ithaca” Q&A starts with street directions describing Brooklyn rather than Dublin. TUESDAY AT 7, Barnes & Noble, 1972 Broadway, 212-595-6859. (De Krap)

DOUGLAS COUPLAND “To acknowledge God is to fully accept the sorrow of the human condition,” writes Cheryl, victim of a Columbine-like school shooting, from somewhere in the afterlife. Coupland’s new novel, Hey Nostradamus!, is a remarkable examination of violence and spirituality, spanning 15 years and told in the voices of four characters: Cheryl, the pregnant Evangelical; Jason, her secret husband; Jason’s girlfriend 10 years later; and his pious father, whose religious devotion has left him unloved and alone. Heartbreaking and horrifyingly real, Nostradamus! shows what happens after we identify our demons and saints. THURSDAY AT 7, Barnes & Noble, 675 Sixth Avenue, 212-727-1227. (Russell)

NICK MAMATAS In the short story “Time of Day,” Voice contributor Mamatas coolly limns a future out of joint, full of homunculi, “acumen,” ego agents, and instantly jacked-in knowledge. Also, his heroine hasn’t dreamed in eight years. Mamatas reads from his new collection, 3000 mph in Every Direction at Once, with Joi Brozek. FRIDAY AT 8, Lucky Cat, 245 Grand Street, Brooklyn, 718-782-0437. (De Krap)